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AS YOU LIKE IT 



(Shakespeare) 



BY 



ALFRED A. MAY, M.A. 

Instructor in English, High School op Commerce 
New York City 



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GUIDES TO ENGLISH CLASSICS 



Genuine aids to the study of English classics in secondary 
schools and in colleges. Include outlines, summaries, explana- 
tory notes, biography, bibliography and recent examination 
questions. Compiled by New York City high school teachers 
of undisputed fitness and ability. 



Speech on Conciliation — Burke 



As You Like It — Shakespeare 



Tale of Two Cities — Dickens 



Julius Caesar 
Macbeth 



Shakespeare 



Essay on Burns — Carlyle 
Life of Johnson — Macaulay 

Silas Marner — Eliot 

Idylls of the King — Tennyson 

Merchant of Venice — Shakespeare 
Browning's Poems (Selected) 



Mabel F. Brooks, B.A., M.A. 
Theodore Roosevelt High School 

Alfred A. May, M.A. 
High School of Commerce 

Edith C. Younghem, B.A. 

Helen H. Crandell, B.A. 
Washington Irving High School 

Helen M. Roth, B.A. 

Girls' Commercial High School 

B. J. R. Stolper, B.Sc. 
Stuyvesant High School 

Thomas L. Doyle, M.A. 
Boys' High School 

Edith C. Younghem, B.A. 
Helen H. Crandell, B.A. 
^Washington Irving High School 

Mabel E. Wilmot, B.A. 
Bryant High School 

R. L. Noonan, B.S. 
Commercial High School 

A. M. Works, B A.,M.A. 

De Witt Clinton High School 



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o3 



AS YOU LIKE IT 



THE DRAMA 

The drama is a type of literature that represents 
human actions and characters, actually impersonated by 
actors before an audience. As in the short story, the tale, 
and the novel, a narrative is unfolded ; the drama differs 
only in the method of presentation. In the three former, 
the author, from an impersonal point of view, tells us 
what the characters say and do and think; or at best, he 
has one of the characters in his own person tell the story. 
In the play, however, the author presents the characters 
in the persons of actual, living actors, who really say 
and do the things by which the plot is developed. The 
play, then, is made primarily to be seen and heard, not 
read. This fact must be borne in mind when studying 
any printed drama. As we read, we have not the help 
of the artists of the stage to make us understand the 
incidents and appreciate the emotions of the persons in 
the play. Nor have we the aid of the comments and 
explanations of the author, as in the case of a piece 
of narrative fiction. Hence there is greater need of a 
lively imagination in the perusal of a play than of any 
other kind of literature. We must try to visualize what 
is happening; and we must be able to infer traits of char- 
acter from the conversation of the persons of the drama. 

As You Like It belongs to the species of the drama 
called Comedy. The other main species is the Tragedy. 
It is sufficiently discriminative, though not critically accu- 

Copyright, 1921, by Globe Book Company 



2 AS YOU LIKE IT 

rate, to define the one as a play that has a happy ending, 
and the other as a play that has a sad or violent ending. 
Usually, though not always, a comedy is humorous — full 
of amusing characters in funny situations. This is true 
of A s You Like It, Twelfth Night, and Midsummer 
Night's Dream, but is not true of The Merchant of 
Venice, Winter's Tale, nor The Tempest. 

The Age of Shakespeare 
As You Like It was written more than three hundred 
years ago. Fully to understand the play, then, it is neces- 
sary to know at least a little of the time in which the 
author lived. In the reign of Queen Elizabeth (1559- 
1603), England had a great intellectual awakening. This 
was the result of several new forces. The "revival of 
learning" brought to general knowledge the beautiful 
literatures of Greece and Rome, led to the establishment 
of universities in England and on the Continent, and 
fostered a great throng of poets and dramatists. At the 
same time a wonderful series of explorations and adven- 
tures by sea and land took place, opening up new worlds 
in America and elsewhere. Then England grew mighty 
in empire, multiplied her colonies, vanquished all her 
enemies, and became mistress of the seas. As a result 
peace reigned in the land. The people grew prosperous, 
scholars and thinkers in all branches of knowledge in- 
creased, literature flourished. Such was the age that pro- 
duced the world's greatest dramatist, Shakespeare. 

The London Theatres 

The London theatres to us, accustomed to magnificence 
of decoration, furnishings, and lighting, would have 



AS YOU LIKE IT 3 

seemed bare and repellent. They were mostly round or 
octagonal structures of wood, consisting of three stories 
of galleries, surrounding an open place of level ground, 
called the "pit." The galleries were roofed, but the 
"pit" was open to the weather. The buildings accom- 
modated about 1,500 spectators, of which those in the 
"pit" had to stand. The stage was a platform jutting 
out into the middle of the "pit," so that the "standees" 
were on three sides of it. About midway a curtain was 
drawn across the stage, dividing it into a "front stage" 
and a "rear stage." This allowed for the arranging of 
properties for the next scene behind the curtain, while 
one scene was being played in front. There was no 
painted scenery as in our modern stage, but an extensive 
use was made of properties of all kinds. The unpam- 
pered imaginations of the Elizabethan audience readily 
enabled them to see a fully furnished royal court in a 
throne and a few chairs, or accept a few scragged trees 
as a delectable forest. The costumes of the players were 
merely those of Elizabethan London, irrespective of the 
time or country of the play. A significant fact, in view 
of the masquerading of Rosalind, Viola, Portia, and other 
women in Shakespeare's plays, is that the women's parts 
were all played by boys. It is well to bear in mind that 
it was with limitations such as these — crudities they seem 
to us — that Shakespeare had to work. 

Date. — As You Like It was first published in 1623, 
but,. from the best evidence we can obtain, was probably 
written in 1599. It belongs to what is known as the 
"second period" of Shakespeare's work. Critics distin- 
guish four periods in his development as a dramatist. 



4 AS YOU LIKE IT 

(i) The period of experimentation, before he had fully 
learned his art. Some of the plays of this period are 
very crude, but others, as A Midsummer Night's Dream 
and Romeo and Juliet, forecast the great things to come. 
(2) The period of the great histories and comedies, when 
he had acquired dramatic technique and deep insight into 
human nature. Besides As You Like It, great plays of 
this period are Twelfth Night, Merchant of Venice, 
Henry IV, and Henry V. (3) The period of great 
tragedies: Julius Ccesar, Hamlet, Lear, Othello, Macbeth. 
(4) Romantic tales of his later years: Cymbeline, Win- 
ter's Tale, The Tempest. 

Source. — Shakespeare always borrowed the plots for 
his plays from older plays, histories, or current works of 
fiction. The source of As You- Like It is a novel by 
Thomas Lodge, published in 1590, called (t Rosalynde, 
Euphues Golden Legacy." Shakespeare followed the 
story pretty closely, but added freely to the plot, and the 
characterization is entirely his own. He took a dull, 
lifeless story and made it alive with beauty, action, humor, 
and human nature. 

SYNOPSIS 

Act I. — In the first scene, laid in an orchard of the 
De Boys house, Orlando and his servant Adam are dis- 
cussing the unjust treatment accorded Orlando by his 
brother Oliver, who has failed to carry out the provi- 
sions of their father's will. Oliver enters and begins 
to upbraid his brother for idleness; a quarrel ensues, 
during which Orlando, stung by Oliver's insults, tries 
to lay violent hands upon him, demanding his share of 



AS YOU LIKE IT $ 

their father's estate. They are separated by Adam, and 
Oliver dismisses Orlando empty-handed, telling him to 
take Adam along with him. 

When they have left, Charles, a wrestler, enters, in- 
forming Oliver, in reply to a question, that the good 
old duke has been banished by a wicked younger brother 
and has taken refuge with many of his lords in the Forest 
of Arden. Rosalind, the old duke's daughter, is retained 
at court as companion to her uncle's daughter Celia, to 
whom she is strongly attached. Charles now urges Oliver 
to restrain his brother Orlando from taking part in the 
wrestling match scheduled for the morrow, as he fears 
that the youth may be injured. Oliver, however, seeing 
a possible chance of getting rid of his brother, persuades 
Charles that Orlando is a villain of the deepest dye, 
and accordingly Charles promises to show him no mercy 
in the match. 

The scene now changes (scene 2) to the lawn before 
the duke's palace, where Celia is vainly trying to cheer 
Rosalind's sorrow for her banished father by telling her 
that she should at least be thankful for not being parted 
from her friend. She adds, also, that as she is her 
father's only heir, she will, at his death, restore the 
usurped duchy to Rosalind. 

At this point Touchstone, the court Jester, appears, 
summoning them to the duke. While the three are en- 
gaged in witty talk, a messenger arrives, announcing that 
a wrestling match is to take place at once on this very 
spot. Soon a flourish of trumpets announces the arrival 
of the usurping duke with his train, including Charles and 
Orlando. The girls try to persuade Orlando to withdraw 



6 AS YOU LIKE IT . 

from the match, thinking him too young and slender for 
so formidable an opponent. Although touched by their 
solicitude, he firmly declines to withdraw. They then 
give him their best wishes for success, and Orlando, who 
has fallen in love with Rosalind at first sight, resolves 
to do his best to win. 

In the bout that follows, Orlando throws Charles so 
violently that the wrestler is carried from the field un- 
conscious. The usurper, on learning that Orlando is the 
son of Sir Rowland de Boys, a former close friend of 
the duke whom he has banished, leaves haughtily with- 
out congratulating the victor. To make up for this slight 
Rosalind gives Orlando the little golden chain from 
around her neck. Before Orlando can find words to 
thank her, she and Celia depart. A courtier now ap- 
proaches Orlando and cautions him to leave as soon as 
possible, as the duke in his wrath may do him harm. 
Although eager to see more of Rosalind, Orlando decides 
that for his safety he must go away at once. 

The third scene takes place in a room in the palace, 
where Celia is poking fun at Rosalind for having fallen 
in love with Orlando. The angry duke appears and orders 
Rosalind to leave his court at once, under penalty of 
death should she be found within twenty miles of it in 
ten days' time. When he has gone from the room, Celia 
declares that she will never live apart from her cousin 
but will go into banishment with her. They decide to 
disguise themselves, Celia under the name of Aliena as a 
peasant woman, and Rosalind as a boy, her page, and to 
seek refuge with the banished duke in the Forest of 
Arden. They agree to induce Touchstone to accompany 
them. 



AS YOU LIKE IT 7 

Act II. — The first scene serves to introduce the exiled 
duke and his followers in their care-free life in the 
Forest of Arden. Interest is aroused in the "melan- 
choly Jaques" by the story told by one of the number 
of seeing him weeping and moralizing over the suffer- 
ings of a wounded deer. 

In scene 2 the usurping duke learns of the departure 
of his daughter with Rosalind and the Jester, and hears 
hints that they have joined Orlando. This news so in- 
censes him that he summons Oliver, intending to de- 
mand from him the surrender of the runaways. 

Scene 3 takes place in Oliver's house. Orlando and 
Adam plan to fly immediately from the wrath of Oliver 
and the duke. 

In scene 4, Rosalind, Celia, and Touchstone have ar- 
rived foot-sore and exhausted in the Forest of Arden. 
While they are wondering what to do next, a couple 
of shepherds walk towards them. The younger, Silvius, 
is telling the aged Corin of his love for Phebe and her 
scorn of him. This talk of love reminds Rosalind of 
her love for Orlando, and occasions some witty remarks 
from Touchstone. When the youth has departed, the 
newcomers learn from Corin that there is a farm for 
sale in the neighborhood, and determine to purchase it. 

Scene 5 makes us further acquainted with the peculiar 
mind of the melancholy Jaques, and contains a delightful 
song by Amiens in praise of the life under the green- 
wood tree. 

Orlando and Adam now (scene 6) arrive in the Forest. 
Both are faint from hunger, and Adam sinks down say- 
ing he cannot go another step. Orlando with comfort- 



8 AS YOU LIKE IT 

ing words leaves him beneath a tree, and rushes into 
the forest resolved to find food or lose his life in the 
attempt. 

Meanwhile (scene 7) the duke and his companions 
have gathered to banquet upon the deer they have slain. 
Jaques entertains them with an account of his meeting 
with "a motley fool" in the forest, with whom he had 
an edifying conversation. At this point Orlando enters 
with drawn sword, demanding food for a starving man. 
The duke, having heard his story, bids him bring the 
old servant to the feast. While Orlando is gone on this 
errand, Jaques moralizes in his famous speech on the 
"Seven Ages of man." 

As he finishes, Orlando re-enters with Adam, and all 
dine heartily together. The duke recognizes Orlando 
by his resemblance to his father Sir Rowland de Boys, 
and bids him welcome to Arden. 

Act III. — Scene 1 reverts to the usurping duke, who, 
upon Oliver's failure to produce his brother, declares 
Oliver's property confiscated and turns him out. 

With scene 2 we are back in the Forest for the re- 
mainder of the play. Orlando decorates the trees with 
verses in praise of Rosalind. Touchstone makes sport 
of the old shepherd Corin and his country life. Rosalind, 
still dressed as a boy, enters reading aloud one of the 
poems in her praise, which Touchstone parodies in a ridic- 
ulous manner. Then Celia comes in reading another 
poem which she has found. Rosalind is puzzled and asks 
who could have written the verses. After teasing her 
awhile, Celia tells her that Orlando is the author, and 
that she has seen and talked with him in the Forest. At 



AS YOU LIKE IT o 

this point Orlando enters in conversation with Jaques, 
and the girls hide behind a tree to listen. Jaques chides 
Orlando for being in love and asks for a description of 
Rosalind, to which Orlando replies that she is "just as 
high as my heart." Jaques soon leaves the love-sick youth 
in disgust. Thereupon Rosalind steps from behind the 
tree and addresses Orlando. Not seeing through her dis- 
guise, Orlando is charmed with her wit and cleverness. 
When the supposed page offers to cure him by imperson- 
ating Rosalind and letting him make love to his heart's 
content, Orlando consents to the experiment, though 
averring that his malady is incurable. 

In scene 4 Touchstone makes love to Audrey, a stupid 
and slovenly country wench, overheard by the ever- 
present Jaques. When Sir Oliver Martext, an unattached 
vicar, appears Touchstone asks him to marry them, which 
he will not do without some one to give away the bride. 
Jaques volunteers for this service, but dissuades Touch- 
stone from what seems to be an irregular marriage. The 
Jester thereupon decides to postpone the wedding. 

Scene 4 finds Rosalind lamenting to Celia that Orlando 
is late in keeping an appointment with her. Celia at first 
laughs at her but ends by comforting her. We learn 
from the conversation that Rosalind has seen her father, 
the exiled duke, but has not made her presence known. 
Corin enters and offers to conduct them to a place where 
they can overhear a young shepherd make love to his 
lass. 

Accordingly, in scene 5, they listen to Silvius plead- 
ing with Phebe. She is unmoved, although he declares 
that the time will come when, having learned what it 



IO AS YOU LIKE IT 

is to love in vain, she will pity his sorrows. Rosalind 
-now comes forward and chides Phebe for her hard- 
heartedness. Phebe, taking Rosalind for what she seems, 
a most comely page, falls instantly in love. When Rosa- 
lind has departed, to soothe Silvius's jealousy, Phebe pro- 
posed to write a letter to the page, rebuking him for his 
impertinence, and asks Silvius to deliver it. 

Act IV. — Scene i opens with a conversation between 
Rosalind, Celia, and Jaques, in which the latter discourses 
on his melancholy. He leaves when Orlando appears. 
After reproaching Orlando for being late, Rosalind pro- 
ceeds with the proposed "cure." Orlando finds no dif- 
ficulty in making love to the fascinating youth. , When 
Rosalind suggests a mock marriage, Celia performs the 
ceremony merrily. Soon afterwards Orlando leaves to 
keep an appointment with the duke, but promises to re- 
turn in two hours' time. 

In scene 2 the foresters sing a song to celebrate the 
killing of a deer by one of their company. 

When the two hours have passed, Rosalind and Celia 
(scene 3) appear for the meeting with Orlando. Instead 
comes Silvius with the letter from Phebe. Pretending 
to believe that Silvius has written the letter himself, Rosa- 
lind ridicules its flattering phrases, and tells the shep- 
herd to take back to Phebe the answer, "If she loves me, 
I bid her love thee." 

When he has gone, Oliver enters inquiring where he 
may find a youth whom Orlando calls "Rosalind." Upon 
learning that he has found the one whom he was seeking, 
he tells how Orlando came upon him sleeping under a 
tree with a serpent coiled about his neck, while a lion 



AS YOU LIKE IT II 

crouched, ready to spring at the first sign of life. 
Although recognizing his brother, Orlando killed the lion 
and saved Oliver's life. The brothers were thus recon- 
ciled, just before Orlando fainted because of loss of blood 
from a wound received from the lion. Upon his recovery- 
he sent Oliver to Rosalind with his handkerchief dipped 
in his own blood, as a reason why he could not keep 
his appointment. Rosalind faints at sight of the blood, 
but immediately recovering bids Oliver tell his brother 
how well the page can simulate a swoon. 

Act V. — Scene I is an amusing encounter between 
William, a former suitor of Audrey, and Touchstone, in 
which the Jester mockingly upbraids the shepherd for 
his stupidity, and declares his losing of Audrey is his own 
fault. Audrey is a stolid witness to this conversation. 

In scene 2, Oliver tells Orlando of his love for Celia 
(whom he knows as Aliena) and his resolve to turn shep- 
herd and marry her at once. As Oliver departs, Rosalind 
enters, and, after expressing sympathy for Orlando's 
wound, reports that Celia and Oliver are to be married 
to-morrow in presence of the duke. Noting Orlando's 
envious look, the page hints that he may be able by 
magic arts to bring Rosalind to the forest to-morrow, 
ready to wed him. Hereupon enter Silvius and Phebe. 
The latter upbraids the page for showing her letter, and 
Rosalind explains that it was done on purpose, as Sil- 
vius alone is worthy of her love. After some love-lorn 
talk by all present, Rosalind declares that if she ever 
marries woman it will be Phebe, and Phebe promises that 
if she refuses to marry the page to-morrow she will marry 
Silvius. 



12 AS YOU LIKE IT 

Scene 3 contains a delightful song sung to Touchstone 
and Audrey by one of the duke's pages. 

Scene 4 reveals the duke and his friends assembled 
for the fourfold wedding. Rosalind, still disguised as a 
page, gains the duke's consent to bestow his daughter 
upon Orlando. She also asks Orlando whether he will 
marry Rosalind and makes Phebe repeat her promise to 
wed either the page or Silvius. She then departs with 
Celia, under pretext of summoning Rosalind by her magic 
arts. 

While they are gone, the Jester and his shepherdess 
come in, ready for the wedding. Jaques and Touchstone 
have a bantering conversation in which the Jester ex- 
plains about the various kinds of insults and which kind 
should call forth a challenge for a duel. 

Hymen, god of marriage, now appears, escorting Celia 
and Rosalind in woman's garb. The duke and Orlando 
are delighted, but poor Phebe is sorely amazed at the 
transformation. However, true to her word, she forgets 
her infatuation and agrees to marry Silvius. 

At the conclusion of the quadruple marriage ceremony, 
Orlando's second brother appears. He announces that 
the usurping duke, having set out to pursue and slay 
his brother, met a holy hermit in the Forest, who con- 
verted him from his evil ways, and persuaded him to 
make full restitution of the usurped estates, and retire 
into a monastery. 

The rightful duke now decrees that Orlando shall have 
not only his daughter but his duchy as well, and that 
Oliver shall regain his estates. Jaques declares that he 
will leave the company and join the converted usurper 



AS YOU LIKE IT 1$ 

in his cell, declining the duke's invitation to remain with 
him in the Forest. The duke now orders the festivities 
to proceed. 

THE CHARACTERS 

Perhaps the chief source of our delight in As You 
Like It is in the characters. They are many and varied 
and most of them exceedingly life-like. Contrasting traits 
are clearly brought out in such pairing as the two dukes, 
Oliver and Orlando, Rosalind and Celia, Touchstone and 
Jaques, and other similar groups. The main characters 
are very complex in their dispositions, and while it is 
easy enough to appreciate and enjoy them, it is some- 
times difficult to analyze them. A careful study of the 
following quotations from prominent critics will help 
in understanding the greatness of Shakespeare's por- 
trayals. 

Rosalind 

"Rosalind is one of the most charming of Shake- 
speare's women. Perhaps she reminds us more of Bea- 
trice than of any other, and yet she is not wholly like 
her. She is as witty, as piquant, as vivacious, but she has 
a loveliness and a fascination all her own. In her dis- 
guise, though she wears it naturally and easily — quite 
unlike Viola, for instance, who is not altogether at ease 
in it — she does not lose her feminine sweetness and deli- 
cacy. She has sometimes been criticised as a trifle too 
free in her talk; but in this respect it is easy to do in- 
justice to any of Shakespeare's women. . . . Rosalind 
has a singularly healthy nature — mentally and morally no 
less than physically: she is sound and sweet in heart, as 



14 AS YOU LIKE IT 

she is fair of face. How admirably she puts to flight the 
melancholy Jaques with his self -petted sentimentality, his 
traveled affection and conceit !" — Rolfe. 

Celia 

"Celia is more quiet and retired : but she rather yields 
to Rosalind, than is eclipsed by her. She is as full of 
sweetness, kindness, and intelligence, quite as susceptible, 
and almost as witty, though she makes less display of wit. 
She is described as less fair and less gifted; yet the 
attempt to excite in her mind a jealousy of her lovelier 
friend, by placing them in comparison — 

Thou art a fool ; she robs thee of thy name ; 

And thou wilt show more bright, and even seem more 

virtuous, 
When she is gone — 

fails to awaken in the generous heart of Celia any other 
feeling than an increased tenderness and sympathy for 
her cousin. To her Shakespeare has given some of the 
most striking and animated parts of the dialogue." — Mrs. 
Jameson. 

Orlando 

"Orlando is altogether such a piece of young manhood 
as it does one's heart good to be with. He has no special 
occasion for heroism, yet we feel that there is plenty of 
heroic stuff in him. Brave, gentle, modest, and magnani- 
mous; never thinking of his high birth but to avoid dis- 
honoring it; in his noble-heartedness forgetting, and 
causing others to forget, his nobility of rank, he is in 
every way just such a young man as all true men would 
choose for their best friend. His persecuting brother, 



AS YOU LIKE IT 15 

talking to himself, describes him as 'never schooled, and 
yet learned; full of noble device; of all sorts enchant- 
ingly beloved; and indeed so much in the heart of the 
world, and especially of my own people, who best know 
him, that I am altogether misprised' ; and this description 
is amply justified by his behavior. The whole intercourse 
between him and the faithful old retainer Adam is replete 
on both sides with that full-souled generosity in whose 
eye the nobilities of nature are always sure of recogni- 
tion." — Hudson. 

Touchstone 

"Touchstone is the professional humorist, the court- 
jester, the Fool of medieval society, who uses his folly 
as a stalking horse, and under the presentation of that, 
'shoots his wit.' His conventional wit is set over against 
the natural wit of Rosalind and is conquered by it. In 
his encounter with her, he is reduced to silence; but he 
expresses his defeat with charm. 'You have said; but 
whether wisely or no, let the forest judge.' Outside of 
his profession he is a 'human person.' He is gentle with 
Rosalind. He loves Celia, and would go over the world 
with her. He is faithful as the day to her and Rosa- 
lind." — Stopford Brooke. 

Jaques 

"Jaques is the great enigma of the play ; and it is curi- 
ous that there should be such a diversity of opinion con- 
cerning him. According to some critics, he is 'a perfectly 
harmless though utterly useless man, a philosopher with 
something of the fool in him, as Touchstone is a fool 
with something -of the philosopher in him.' Others, on 



j6 as you like it 

the other hand, believe him to be unmitigatedly depraved 
— a worn-out, misanthropic old profligate, introduced as 
a marked contrast to Orlando, Rosalind, and the ban- 
ished Duke."— Rolfe. 

CONSTRUCTION OF THE PLAY 

Each of the plays of Shakespeare is divided into five 
acts, and the acts into a variable number of scenes. This 
division was not made by Shakespeare himself, but by 
some of his editors. The division into acts is merely 
mechanical, to allow the audience periods of rest, to give 
the actors time for change of costume, and to facilitate 
change of scenery and properties. The division into 
scenes, however, is more organic. According to the 
English custom, a scene ends whenever the stage is 
cleared of characters, and so marks a distinct unit of 
the action. 

Every play, however, has a logical five-part structure, 
with no reference to the divisions into five acts. These 
five parts are called Introduction, Rising Action, Turning 
Point or Climax, Rising Action, and denouement or 
Catastrophe. 

The Introduction must tell clearly and briefly what 
the audience must know to follow the ensuing story in- 
telligently; it thus usually contains the "antecedent mat- 
ter." It must also make clear who the speakers are, 
and prepare the hearer to expect and recognize those 
who are to enter later. It must give some hint as to the 
time and place of the story. In addition it often gives 
the emotional key-note or atmosphere of the play, so 
that the hearer enters into the proper mood to appreciate 



AS YOU LIKE IT 17 

it. In As You Like It the Introduction is all crowded 
into scene 1, and is done in a masterly way. We learn 
the facts about the situation in the D'e Boys family and 
the usurpation of Duke Frederick. We are introduced 
to nearly all the leading characters, and hear another (the 
banished Duke) mentioned. The pervading atmosphere 
of the play, however, we do not get until Act II, scene 1. 

The Rising Action immediately follows the Introduc- 
tion and begins with the exciting force; that is, the force 
that is to change the existing state of affairs and start 
the action toward a complication, which is in turn worked 
out to a logical conclusion. The "exciting force" in this 
play is the wrestling match; for as a result of it Rosa- 
lind and Orlando, with Celia, Touchstone, and Adam, and 
later Oliver, are forced to run away to the Forest of 
Arden, where the banished Duke is. The Rising Action, 
sometimes called the "complication," continues involving 
the characters more and more in difficulties until a com- 
plete tangle is achieved. 

The Climax now is reached. It is the centre of the 
plot, "the turning point" at which starts the unraveling 
of the perplexing situations that have been brought 
about. In Shakespeare's plays this is almost invariably 
in the exact middle of the play; in As You Like It it is 
in Act III, scene 2, when the disguised Rosalind and 
Orlando meet in Arden. From this point on we hurry 
to the final solution. 

The Falling Action, also called the "resolution," is the 
clearing up of the complications which the "exciting 
force" brought about. It includes everything to the clos- 
ing situations of the play. In As You Like It new ele- 



1 8 AS YOU LIKE IT 

ments of interest, in the love affairs of Touchstone and 
Audrey, Oliver and Celia, and Silvius and Phebe (though 
the latter is hinted at before the climax) are introduced; 
but these are sufficiently identified with the main theme 
(the love of Rosalind and Orlando) to seem quite in 
place. 

The Denouement, or catastrophe, is the final stroke 
which puts a satisfactory conclusion to the various 
threads of the plot. In our play it includes the fourfold 
marriage, the news of the usurper's reformation, and the 
Duke's allotment of rewards. 

Seven Threads of Action. — In constructing the plot of 
the play, Shakespeare has woven together seven threads 
of action. Listed separately they are : 

1. The banishment of the Duke by his usurping 
brother, who subsequently reforms. 

2. The quarrel and reconciliation of Oliver and Or- 
lando. 

3. The woodland life of the exiles. 

4. The love story of Rosalind and Orlando. 

5. The love story of Touchstone and Audrey. 

6. The love story of Phebe and Silvius. 

7. The love story of Oliver and Celia. 

The following analysis of the plot by R. G. Moulton 
gives a good view of the interrelation of the stories : 

Outer Enveloping Action: Civil War of the Dukes — end 

in religious conversion. 
Inner Enveloping Action: Feud in the De Boys family — 

end in dramatic conversion. 



AS YOU LIKE IT 



19 



Main Plot 

of quadruple 

Loves 



1. Love and Disguise: Rosalind and 
Orlando. 

2. Love and Folly : Audrey and Touch- 
stone. x 

3. Conventional Love : Phebe and Sil- 
vius. 

4. Love at first sight : Celia and Oliver. 
Inner Atmosphere: Play of 

Natural: Rosalind. 
Professional : Touchstone. 
Morbid: Jaques. 
Outer Atmosphere: Conventional Pastoral Life: The 
Forest of Arden. 



Triple Humor 



STYLE 

As You Like It is written partly in prose and partly 
in blank verse, the total number of lines of the former 
exceeding that of the latter. Hudson distinguishes two 
kinds of prose — that spoken by Touchstone, Audrey, and 
William, representing the speech of servants and country 
folk, and the witty, sparkling prose of Rosalind's conver- 
sations, suggestive of the court. The one has an idio- 
matic strength and the other a grace and beauty which 
show that Shakespeare was as great a master of prose 
as of poetry. Of the poetry Rolfe says: "In As You 
Like It ... we have the utmost perfection of blank 
verse; at once finished and flowing, artistically musical, 
yet seeming to 'sing itself — the art of the accomplished 
minstrel, while it impresses us as the artlessness of the 
lark or the nightingale." 

Two chief characteristics of Shakespeare's style — of 



20 AS YOU LIKE IT 

his prose and poetry alike — are often pointed out. (i) 
Condensation, the expression of a thought in the fewest 
possible words. An example is in Act II, scene 7, when 
the "First Lord," being bidden to summon Jaques, replies, 
"He saves my labor by his own approach." Shake- 
speare here compresses into eight words what we should 
probably express thus, "He saves me the labor of look- 
ing for him by coming of his own accord." (2) Con- 
or eteness, the expressing of an idea, not by abstract, in- 
tellectual phrases, but by means of concrete images. 
Thus when the Duke, in Act II, scene 1, says their forest 
life 

Finds tongues in trees, books in the running brook, 
Sermons in stones . . . 

he expresses concretely what a prosaic writer might put 
into some such words as, "Our life, contemplating all the 
various manifestations of Nature, finds much opportunity 
for moralizing." 

Famous Passages of the play are: 

The Duke's speech, "Sweet are the uses of adversity," 

II, 1, 12-18. 

Jaques's "Seven ages of man," II, 7, 139^. 
The songs : Under the greenwood tree, II, 5, 1-40. 

Blow thou winter wind, II, 7, 174-ff. 

It was a lover and his lass, V, 3, i6ff. 
Rosalind's description of the different paces of time, 

III, 2, 320ff. 

Rosalind's description of a man in love, III, 2, 39ofr*. 
Touchstone's description of a lie seven times removed, 
V, 4, 70G. 



AS YOU LIKE IT 21 

SPECIAL NOTES 

(As aids to the student in answering some of the questions 

following.) 

i. Aside from its humor, As You Like It attracts the reader 
by its beautiful poetry, the simplicity and grace of its prose, the 
songs which accompany the action, the unusually large number 
of interesting and lifelike characters, the care-free life under 
the greenwood tree, and the final pervading spirit of forgive- 
ness and reconciliation which gives the play a joyous ending. 
Not the least feature of the play is the melancholy of Jaques, 
which is so puzzling and stimulating to the thoughtful reader. 

2. There is little change or development of character in this 
play as compared with many others of Shakespeare's, but the 
change in Rosalind's mood from sadness in the opening scenes 
to joyousness when she arrives in Arden is noteworthy. Then, 
too, there are the changes in Oliver and the usurping duke. The 
reformation of Oliver has been criticised as too abrupt and im- 
probable, but gratitude for the saving of life is often the cause 
of as great a transformation in real life, to say nothing of the 
force of an overwhelming love. In the case of Duke Frederick, 
the opportunity for reflection in the lapse of time, and the work- 
ings of conscience account sufficiently for his reformation. 

3. Viola, in Shakespeare's Twelfth Night, like Rosalind was 
disguised as a boy. While Rosalind seemed to find delight in 
her masquerade, and boast in the freedom and independence 
which it brought her, Viola, on the other hand, never felt quite 
at home, and her maidenly modesty was rendered more retiring 
thereby. Viola's wit was of a quieter and perhaps more subtle 
quality than Rosalind's and lacked the latter's gaiety and irre- 
pressible spirits. In beauty there could be little to choose be- 
tween them : Orlando succumbed to love at first sight, and 
Olivia, believing Viola to be a youth, fell almost instant prey 
to beauty's charms. Mrs. Jameson, in her Characteristics of 
Women, thus contrasts them : 

"What beautiful propriety in the distinction drawn between 
Rosalind and Viola ! The wild sweetness, the frolic humor which 



22 AS YOU LIKE IT 

sports free and unblamed amid the shades of Arden, would ill 
become Viola, whose playfulness is assumed as part of her dis- 
guise as a court-page, and is guarded by the strictest delicacy. 
She has not, like Rosalind, a saucy enjoyment in her own in- 
cognito; her disguise does not sit so easily upon her; her heart 
does not beat freely under it. ... A sweet consciousness of 
her feminine nature is forever breaking through her masque- 
rade." 

4. Read carefully the views on life in the Forest as expressed 
by Duke Senior and Amiens in Act II, sc. 1 ; by Jaques as 
reported by the First Lord in the same scene ; by Touchstone 
in Act II, sc. 4, line 10, and Act III, sc. 2, line 12; by Corin, 
a native, in the same scene; and by Amiens ,in the song, Act 
II, sc. 5. 

5. There are four chief ways by which an author may depict 
character. (1) He may describe the person, telling us what he 
looked like, what were the traits of his mind and character, 
and portray his thoughts, desires, and emotions. (2) He may 
make the character speak, and thus allow us to infer his nature 
from what he says. (3) He may show us what the person does, 
how he acts and conducts himself in various situations, and 
thus enable us to form our own estimate. (4) He may tell us 
what other persons in the narrative say or think about him. 

6. Character sketches of Rosalind, Celia, and others will be 
found on pages 13 to 15. It is often desirable, however, to be able 
to give a detailed and specific analysis of characteristics. The 
following outline, with references to the scenes of the play in 
which various traits are brought out, should be studied carefully. 

Rosalind 

(1) Pensiveness, or sadness. In Act I only, due first to her 
father's banishment, and later to her falling in love with Orlando 
at first sight. Study scene 2, lines 1-40, and scene 3, lines 1-40. 

(2) Wit. See especially her talk with Touchstone and Le Beau, 
Act I, scene 2, and her raillery at Phebe's letter, Act IV, scene 
3, lines 1-75. 

(3) Her most characteristic trait is variously called spright- 
liness, playfulness, vivacity, and cheerfulness. It pervades nearly 



AS YOU LIKE IT 23 

all her talk, but see especially the conversations with Celia about 
Orlando in Act III, scene 2, lines 170-265; with Orlando in Act 
III, scene 3, lines 312 to end; and with Orlando, Act IV, scene 1, 
lines 205-225. 

Celia 

(1) Loyalty to friendship. This is brought out in Act I, scene 
2, lines 12-20, when she vows to right her father's wrong against 
Rosalind's father; in Act I, scene 3, lines 92-135, when she 
decides to go into banishment with Rosalind. 

(2) Tender mockery, when she teases Rosalind about Or- 
lando's verses, Act III, scene 2, lines 170-265; when she laughs 
at Rosalind's love, Act III, scene 4, lines 1-50. 

Dramatic Terms 

7. By antecedent material is meant events which happened 
prior to the beginning of a story or play, and which the reader 
must be acquainted with in order to understand the plot. In 
As You Like It the antecedent material consists of the usurpa- 
tion of Duke Frederick, and the state of affairs in the De Boys 
family which led to the estrangement of the two brothers. 

Climax in a drama is the point at which the interest is at its 
greatest height. It is the "big scene" of the play. Before it is 
reached everything that happens helps to lead up to it; after 
it, the course of action naturally declines to the catastrophe or 
denouement. Often there are other lesser climaxes besides the 
main one. The word "climax" is sometimes used synonymously 
with "turning point," which means the point where the fortunes 
of the chief character change from good to bad or from bad 
to good. "The center of the plot" is another term used in the 
same sense. In As You Like It, this point, by whichever word 
you choose to call it, is in Act III, scene 2, where Orlando and 
the disguised Rosalind meet for the first time. 

A moment of suspense is a situation by which our interest 
is kept fully aroused and expectant, eager to witness the im- 
portant event for which we have been carefully prepared by 
the skill of the author. We are kept for a moment poised, as 
it were, on the verge of a leap into an exciting incident. Such 



24 AS YOU LIKE IT 

a situation, for example, is the conversation of Rosalind, Celia, 
and Orlando, just before the wrestling match. 

A retarding force is an incident which momentarily retards 
the action, which seems to interfere with its progress toward 
a culmination we have been expecting. A "moment of suspense" 
also delays the coming of the expected incident, but by it our 
interest in the incident and eagerness for it is heightened; 
whereas by a retarding force, our attention is for a time dis- 
tracted to something else. An example is the song in Act IV, 
scene 2, which intervenes when we are expecting to witness the 
second meeting of the lovers. 

Contrast in characterization means the bringing together of 
persons of opposite or dissimilar nature so that interesting situ- 
ations develop from the interplay of their conflicting minds or 
interests. Several groups of contrasted characters are found 
in As You Like It; as the two dukes, Orlando and Oliver, Rosa- 
lind and Celia, Touchstone and Jaques, etc. 

The setting of a story or drama is the time and place in 
which the events are supposed to happen. The former is often 
called the historical, the latter the local, or geographical setting. 
Often, in a play the scenes occur in various different local set- 
tings; as a street, a room in a palace, an orchard, etc. In As 
You Like It, the historical setting may be said to be an inde- 
terminate period, probably contemporary with Shakespeare; the 
local setting is, in general, a Duke's palace and the Forest of 
Arden, France. The setting of a play often forms one of the 
chief sources of interest; this is notably true in this play, where 
most of the action takes place out-of-doors "under the green- 
wood tree." 

Sequence of time means the chronological order in which the 
incidents of the play or story are presented. In a play this is 
usually, of course, the same" as that in which they would natur- 
ally happen, but not always. For instance, in As You Like It, 
scene 3 of Act II, and scene 1 of Act III seem to be out of 
their natural order. In a study of the sequence of time, it is 
always necessary to observe the rapidity or slowness with which 
the events follow one another, and to take account of any 
intervals between successive scenes. In this play, there are evi- 



AS YOU LIKE IT 25 

dently intervals in the action after Act II, scene 1, Act II, 
scene 2, Act II, scene 7, and Act III, scene 2. 

QUESTIONS FROM COLLEGE ENTRANCE AND 
REGENTS' EXAMINATIONS 

(The numerals after some of the questions refer to the "Special 
Notes" above, where suggestions are given to aid in answer- 
ing the questions.) 

College Entrance 

(1) For what qualities other than its humor do you find one 
of Shakespeare's comedies attractive (1)? 

(2) Select from some great novel or play a person who under- 
goes a striking change of character, and show why and how this 
change takes place (2). 

(3) Write a composition of at least two paragraphs on: 
Orlando in the Forest of Arden. 

(4) What makes As You Like It a gay and lively play? 

(5) Write a comparison between Rosalind and Viola with 
respect to their devotion, independence, beauty, wit, or other 
qualities (3). 

(6) Supposing yourself to be Orlando, write a letter to some 
one at Court, describing the people to be met in the Forest of 
Arden, and setting forth the advantages of woodland life over 
life at court. 

(7) Write a composition on "Life under the greenwood tree," 
as viewed by different characters (4). 

(8) The character of Jaques — show how he differs from other 
minor characters in the play. 

(9) Do you think that Shakespeare is successful in making 
his minor characters seem real and distinct? Illustrate your 
answer by examples as fully as you can. 

Regents' 

(1) What traits of character are shown by Rosalind in her 
deeds in the Forest of Arden (6) ? 

(2) Mention three traits of Celia's character, illustrating by 
reference to the play (6). 

(3) Mention four ways of depicting character in a play or 



26 AS YOU LIKE IT 

novel. Mention one method which the novelist may use but 
which the dramatist may not use (6). 

(4) Relate briefly Rosalind's love-story, using the following 
outline: (a) Conditions under which the story begins, (&) Rosa- 
lind's first meeting with Orlando, (c) events in the progress of 
the story, (d) the outcome. 

(5) Write a paragraph describing a character in As You Like 
It, basing your estimate of that character on one of the follow- 
ing: (a) what he (or she) does, (b) what he says, (c) how 
he feels towards the other characters in the story, (d) how other 
characters feel toward him, (e) what he holds highest. 

(6) Bring out a "moment of suspense" and a "climax" in two 
different scenes in Merchant of Venice or As You Like It (7). 

(7) What is meant by "setting" in fiction? Illustrate by refer- 
ence to a novel or play (7) 

(8) Prepare an outline and use it in writing the story of the 
masquerade of either Portia or Rosalind. 

(9) Point out the difference between the method of character 
portrayal in the novel and that used in the drama. 

(10) Illustrate by characterizing two of the following and 
stating the basis on which you determine the leading traits of 
character : Viola, Rosalind, Portia, Hepzibah Pyncheon, Eppie, 
and the Vicar of Wakefield's wife (5). 

(11) Name five persons from one of the following plays and 
mention the most striking traits of character of each of these 
persons : As You Like It, Merchant of Venice, Twelfth Night. 

(12) With regard to Rosalind relate the circumstances that 
led her to disguise herself as a man and give one or two 
instances to show how her womanliness appears in her speech 
or acts while she is disguised. 

(13) In a paragraph or two describe fully and clearly a 
picture that might serve as an important illustration for an 
edition of As You Like It. 

(14) What scene in As You Like It can you see most vividly? 
Reproduce your impression so that the examiner will see what 
you see. 

(15) Explain how the wrestling match aids in the plot de- 
velopment of As You Like It. 



AS YOU LIKE IT 27 

(16) Write a narrative — as though the reader had not read 
the book: (a) How an unkind brother was reconciled to a 
brother he had wronged, (b) How one who lost his dukedom 
found happiness elsewhere. 

(17) Compare Rosalind and Celia, basing your comparison on 
what they say and do (6). 

(18) What traits of character are shown by Rosalind in her 
companionship with Celia? Give reasons for your opinion (6). 

(19) Compare As You Like It with some other one of Shake- 
speare's plays that you have read, showing as clearly as you 
can the most striking points of difference between the plays. 

(20) What is the most noticeable trait of Rosalind's character ? 
Tell what she said and what she did that best reveal this 
trait (6). 

(21) Give from The Virginians, Merchant of Venice, or As 
You Like It, illustrations of five of the following: moment of 
suspense, antecedent material, setting, contrast in characteriza- 
tion or in incident, climax, retarding force, sequence of time. 
Make each illustration as detailed as possible (7). 

(22) Write on one of the following, giving the story of the 
characters and showing how the subplot strengthens the plot: 
(a) Oliver and Celia, (b) Silvius and Phebe, (c) Touchstone 
and Audrey. 

(23) Define "antecedent material." Mention two different ways 
in which it may be given in a narrative and illustrate each by 
reference to antecedent material in As You Like It (7). 

(24) Mention three threads of action in As You Like It, nam- 
ing all the characters connected with each. Describe a scene in 
the play in which two or more threads are combined. 

(25) Quote from one of Shakespeare's plays one or two 
passages containing a total of at least 100 words. Give the 
name of the speaker and state under what circumstances the 
words were spoken. 

(26) From one of the following select the character that 
impressed you the most, tell the part the character plays in 
the drama and give the circumstances that make him (or her) 
worth remembering: Midsummer Night's Dream, As You: Like 
It, Twelfth Night, Merchant of Venice. 



28 AS YOU LIKE IT 

(27) Name the title and author of two plays that you have 
studied in your English course. Name a principal and a minor 
character from each of these plays. 

(28) Tell what each of these characters does in the play. 

(29) If you were to see on the stage one of the plays studied 
in your English course, what scene would you expect to enjoy 
most? Describe the scene so as to show why you would enjoy it. 

SUGGESTIVE REVIEW QUESTIONS AND COMMENT 

Act I. — From the conversation between Orlando and Adam, 
and between Orlando and Oliver, what details do we learn about 
the affairs of the De Boys family? Just what facts do we learn 
about the usurpation of Duke Frederick, and how do we learn 
them? What was Charles's reason for asking Oliver to keep 
Orlando out of the wrestling match? How did Oliver persuade 
him to meet Orlando? What do Rosalind and Celia say to 
Orlando before and after the bout? What is the effect on Rosa- 
lind and Orlando of their first meeting? What far-reaching 
effects, in the development of the plot, did the wrestling match 
have? What trait of Rosalind's character is predominate in 
Act I? What trait does Celia chiefly reveal? What are Or- 
lando's chief characteristics? Oliver's? The usurping duke's? 
How does Celia describe her father? What have you learned 
about Touchstone's character in Act I? Show that the plot 
of the play is to be the result of the conflict between "good" 
persons and "bad" persons. 

Act II. — How does the exiled duke compare his present life 
with that of the court? What do the courtiers think of Jaques? 
Why is he called the "melancholy Jaques"? What more do 'we 
learn about the flight of Rosalind and Celia? About Orlando's 
actions after the match? How does Touchsone try to cheer up 
Rosalind and Celia on their arrival at Arden? Why are they 
made to overhear the story of Silvius's love immediately upon 
their arrival ? What important fact do they learn from Corin ? 
Why is Amiens's song introduced here (sc. 5)? What does it 
show as to the exiles' attitude toward their present life? De- 
scribe Orlando's entry to the banqueters and their reception of 
him. What is hereby shown as to the Duke's character? Can 



AS YOU LIKE IT 29 

you give reasons why Jaques's speech on the "Seven Ages of 
Man" is so famous and popular? Compare the spirit of Amiens's 
song in scene 7 with that in scene 5. What is the reason for 
the difference? Why do we hear no more of Adam after the 
end of this Act? What do we naturally expect to happen, now 
that Orlando and Rosalind are both in the Forest? What events 
in Act II confirm what we learned in Act I, or were the re- 
sult of what happened in Act I? What new (minor) thread 
is introduced, not hinted at in Act I? 

Act III. — Why is it necessary for the scene to revert to Duke 
Frederick's palace? What means does the author adopt for 
getting Oliver to Arden? What is Touchstone's opinion of a 
shepherd's life? Explain Corin's philosophy. What does Touch- 
stone say of Corin's never having been to Court? Is Corin's 
reply a good one? How does the discovery of the verses affect 
Rosalind? What does Touchstone think of them? What ques- 
tions does Rosalind ask Celia about Orlando. What does Celia 
reply ? What characteristics of the two men are revealed by 
Jaques's suggestion that "we two rail against the world," etc., 
and Orlando's reply? How does Rosalind describe a man in 
love? How does Orlando confess his love? How does this con- 
fession affect Rosalind? What is her cure for one in love? 
How would you describe Rosalind during her talk with Orlando ? 
Show that this meeting (sc. 2) is the "center of the plot" or 
"climax" of the play. Show its relation to what happened in 
Act I. Why is Touchstone's wooing of Audrey humorous ? How 
many love affairs have we up to this point in the play? Why 
does Jaques take a hand in this affair? Why does he offer to 
give away the bride, and then dissuade Touchstone from the 
ceremony? What are Touchstone's reasons for postponing the 
wedding? Was Sir Oliver Martext a necessary character in 
the play? Does he appear again? In scene 4, is Celia teasing 
Rosalind, or trying to comfort her? Why does Shakespeare 
make Orlando late for the appointment? What does Rosalind 
say about her father? Why does Rosalind chide Phebe for her 
cruelty to Silvius? What effect does she really have on Phebe? 
Why are we amused at Phebe's falling in love with "Gany- 
mede" ? Show how this further complicates the plot. How 



30 AS YOU LIKE IT 

does Phebe's manner differ toward Silvius after Rosalind's scold- 
ing? Why? How does Phebe describe "Ganymede"? How 
does she try to re-assure Silvius? Show how the mention of 
the letter points forward to future interesting situations. What 
new elements of interest are introduced in Act III ? What prog- 
ress is made towards the "resolution," or working out of the 
forces set in motion in Act I? 

Act IV. — Rosalind here (sc. i) matches her wit with Jaques's. 
Review how she does the same with Touchstone's in Act I, 
scene 2, and elsewhere; also how Jaques and Touchstone match 
wits in Act V, scene 4. How does the conversation between 
Rosalind and Orlando in this scene differ from that in Act III, 
scene 2 ? What progress in the love-making has been made ? 
Is Celia really tired of and disgusted with Rosalind as she 
seems? What is Rosalind's attitude toward Phebe as she reads 
the letter? Can you account for this attitude? What hint of 
a future complication is there in the message Rosalind sends 
to Phebe by Silvius? Why is the encounter between Orlando 
and Oliver told instead of being acted on the stage? Previous 
to Rosalind's fainting, what other instances have we had of her 
femininity breaking through her disguise? Is there any hint 
here of Oliver's falling in love with Celia? 

Act V. — Try to enjoy to the full Touchstone's foolery with 
William; it is one of the best instances of the Jester's wit. 
Why did Touchstone succeed so easily in winning Audrey from 
William? Give Rosalind's description of the case of love at 
first sight between Oliver and Celia. Why does this case seem 
less probable than the case of Rosalind and Orlando? Why 
does Rosalind promise to use "magical arts" to bring about 
Orlando's marriage? Give Silvius's description of love. Explain 
the full significance of Rosalind's expression, "Nor I for any 
woman." Give in full what she promises to each for the mor- 
row. What hints of recognition of Rosalind do the duke an^ 
Orlando give near the beginning of scene 4? Study carefully 
Touchstone's description of the seven causes of a quarrel; it 
is his best bit of "professional fooling." What is his real 
opinion of Audrey? How many marriages does Hymen per- 
form? Review the story of each. Is the usurper's sudden 



AS YOU LIKE IT 31 

reformation more or less improbable than Oliver's? Why does 
Jaques take it upon himself to hand out the final destinies of 
the characters? Does the play end as you like iff Why does 
Rosalind in the Epilogue say, "If I were a woman"? 

BIOGRAPHICAL 

The facts actually known about Shakespeare's life can be 
told briefly. He was born in 1564, probably on April 23, at 
Stratford-on-Avon. As a boy he attended the Grammar School 
at Stratford, where he studied Latin, as the custom was in that 
day, and probably not much else. But he must have been a great 
reader, and the English Bible he knew almost by heart. He 
never attended the Universities, as many of his fellow-play- 
wrights did, and the vast knowledge he displays on so many 
different subjects must have come to him from reading, obser- 
vation, and intercourse with men and nature. At the age of 
eighteen he married Anne Hathaway, and three children were 
born to them. Soon after his marriage he left Stratford and 
went to London. Tradition says he ran away from home as a 
result of stealing a deer from the park of Sir Thomas Lucy 
and the subsequent persecution by that gentleman — a story which 
modern critics are inclined to doubt. 

In London he first became an actor of minor parts in the 
theatres. In this way he gradually learned the whole business 
of the theatre, soon revising old plays, then making new ones 
of his own, and finally owning and managing playhouses. He 
was a shrewd business man and soon acquired a competent for- 
tune. In 1597 he bought a handsome house in Stratford, and 
retired from the theatrical business about 161 1 and went there 
to live. He died April 23, 1616, and was buried in the chancel 
of Stratford church. 

In London, unlike most of his fellow-poets, he was highly 
respected and led a blameless though joyous life. His contem- 
poraries, except the envious Greene, spoke of him in the highest 
terms. In his comparatively short career as an author, he wrote 
the greatest dramas ever written by man. He is universally 
recognized by all nations as the world's greatest poet. 



32 AS YOU LIKE IT 

BIBLIOGRAPHY 

Of the many books about Shakespeare, some of the most 
useful are: 

Introduction to Shakespeare, by MacCracken, Pierce, and Dur- 
ham (MacMillan Company). 

Shakespeare, by Edward Dowden (American Book Company). 

Life of Shakespeare, by Sidney Lee (MacMillan Company). 

Life, Art, and Characters of Shakespeare, by Henry N. Hud- 
son (Ginn and Company). 

Shakespeare as a Dramatic Artist, by R. G. Moulton (Oxford: 
The Clarendon Press). 

On Ten Plays of Shakespeare, by Stopford Brooke (Henry 
Holt). 

(The last two books contain interesting studies of As You 
Like It.) 






LIBRARY OF CONGRESS 




014 067 299 3 



